A Study On Zhang Tingji’s Inscriptions And Postscripts And Related Issues

This article comprehensively sorts out and proofreads the inscriptions writings of Zhang Tingji Qingyi pavilion inscription,Qingyi pavilion gold stone inscription,Qingyi bibliography and ancient artifacts in the Qingyi pavilion,sorting out the time of the publication,the compilation of the articles,the adaptation made when the book was written,and summarizing the errors and texts of the publication.Taking the large number of the writings of Zhang Tingji’s inscriptions as the basis for investigation,the following aspects are summarized.Firstly,in the process of binding,it causes the situation of "inscription and poster discoloration".Secondly,two research methods of Zhang Tingji for "mutual verification of literature" and "different expansion".Thirdly,Zhang Tingji applied calligraphy criticism terms such as "shape god" and "fat and thin" to the research,forming a unique identification method and calligraphy concept.Fourthly,from Zhang Tingji’s criticism of calligraphy by Chu Suiliang,Ouyang Xun and other scholars,it can be seen that Zhang Tingji’s concept of calligraphy was not influenced by his teacher Ruan Yuan theory of "north-south division".The Qingyi pavilion inscription is a manuscript by Zhang Tingji.Through the comparison of Zhang Tingji’s copying calligraphy works and the original works in the book,it is concluded that the copying calligraphy works are the products of the state of "copying under consciousness".Studying the daily writing style of Zhang Tingji’s "powerful and elegan ",it can be seen that Zhang Tingji’s inscription is compatible with aesthetic consciousness.